x]/fnf] gful/s kqsfl/tf - Digital Himalayahimalaya.socanth.cam.ac.uk/collections/journals/... ·...

$: x]/fnf] gful/s kqsfl/tf - Digital Himalayahimalaya.socanth.cam.ac.uk/collections/journals/... · k[YjL/fhdfu{sf] dfkb08 sfod ug]{ sfo{nfO{ s]xL kl5 ;f/]sf] nfld5fg] atfpﬁ5g\€.$
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Himal SupplierNew Road-9, Pokhara

Ph: 061-550186, 9856025563, 9804125986(All types of Steel & Wooden Furnitures)

Krishna Timilsina

Padma Shree Dental HomeNew Road, Pokhara

Ph: 061-622191, 9846028214

Our Services:Extraction, X-ray, Filling, R.C.T., C.D., R.P.D.,

Scaling-Polishing, Ortho, Crown Bridge, AcrylicCrown, Metal Crown, Gold Crown.

Service Hours : 8:00 AM to 6:00 PM

INTERNATIONAL AUTOPARTSNaya Bazar-9, Pokhara, P.B.No.492

Ph: 061-537222, 537333

Chandra Bahadur KunwarManaging Director

e-mail: [email protected]

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Ph: 061-528805, 541805

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KIRAN SCIENTIFICTRADERS

New Road-9, Pokharae-mail: [email protected]

Bishnu KhadkaPh: 061-528502 (Off), 541165 (Res)

Mo.: 9846027073Fax: 061-522653

Supplier : Hospital & Lab, Equipment, Chemi-cal, Reagent, Glassaware & Accessories etc.

Nutty Nuts Cafe' & RestaurantChipledhunga, Pokhara

Ph: 061-522311About Us:♦ Well located cafe' with hospitality, service & taste.♦ We serve Indian, Italian, Chinese and Continental dishes.♦ We can provide well managed home packing service.♦ We have great environment for any type of parties.♦ We have best chefs of the town for all dishes.♦ We can deliver our food anywhere inside Pokhara.♦ We are serving great Indian Rolls First time in Pokhara.

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For all kindsof CD, VCD,Music, Mov-ies & more,

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Fostered by sacrifice,the gods will surely bestowon you unmasked desiredenjoyments. He who enjoysthe gifts bestowed uponthem without offeringanything to them in returnis undoubtedly a thief.

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xfd|f g]kfnLx?sf] xfndf /fli6«ov]n nfl/�laof], x't't', u'Rrf cflbg eP/ aGb, x8tfn, rSsfhfdePsf] 5 . o:tf] v]nsf sf]r/ xfd|f/fhg}lt1 cu'jfx? x'g . o;v]ndfg]kfn cfh ljZj RoflDkog ePsf]5 . s:tf nugzLn / s'zn lzIfsg]kfln hgtfsf] efUodf lyof] <nfl/�laof], x't't', u'Rrf h:tf v]nsf]k|of]hg dgf]/Ghg dfq x'G5, To;dfs]lx lb3{sfnLg /rgf x'Ì . xfd|fjt{dfg /fhg}lts cu'jfx?n] klgaGb, x8tfn, rSsfhfd h:tfv]nsf] dfk{mt dgf]/Ghgsf] k|of]hgdfq bzf{Psf 5g . To;df s]lxklg lb3{sfnLg /rgf b]lvPsf] 5}g .sd{7 gful/sx?n] a~h/ / vlgh

k'~hLljxLg w/tLnfO{ l;+ufk"/, hfkfg,xËsË agfO ;s] . hn;|f ]t,k|fs[lts ;'Gb/tf cflb ;Defjgfaf]s]sf] g]kfn cfk\mgf] cfw'lgs /fi6"Lov]ndf cfk\mgf] k'?iffy{ b]vfpg Jo:t5 . sd{7 gful/sx?n] ha ;d[4,wgwfGok"0f{ /fi6« agfp5g To:tf]/fi6"df ;Eotf, :jtGqtf sf] ljsf;x'G5 . /fi6" zlQmzfnL / zflGtdox'G5 . nf}lss hLjgsf] Joj:yflg/fn} 5 . k[YjL sf] gfd j;'dlt -cyf{t wgdlt_ . o;df h;n] j;'tfk|fKt ug{ ;Sb}g To;n] hLjgsf]k|;Ìtf kfpb}g . j;'dtn] -wg;DkÌn]_ j;'dltsf] ef]u u5{ .sflnbf;n] eG5g j;'sL6n] -leIf'sn]_gfgf/Tgf j;'Gw/fdf klg gs{ dfq}kfp�5 . Gofok"0f{ ljlwåf/f ch{]sf] wgdfq} ;'/lIft / lr/:yfoL x'g ;S5 .dg'iof]lrt cfbz{ slxn] klg lal;{g'x'Ì . g}lts ktg x'gf ;fy dg'iotfkltt x'G5 . cfTdfsf] k|lts"n sfo{slxn] gug{';\ . wgn] w]/} sfo{ ug{;S5 t/ enfbdLsf] dfg�dof{bflsÌ ;Sb}g . efUon] ;'cj;/ k|bfgu/]tf klg To;tf cj;/sf] nfecfTdof]Uotf dfk{mt dfq ;Dej 5 .ldq, 7"nf gft]bf/x? ;xfos x'g;S5g\ t/ d]?b08 l;4 x 'g;Sb}gg\ . c/x?sf] d'v tfSg'Zjfg�j[lQ xf] .

d'v tfSg] Jojxf/sf] ta cy{x'G5 ha b'a} tk{maf6 cEof; ePsf]x'G5, cyf{t s;}n] tkfO{sf] pkof]lutfx]5{ / tkfO{n] To; pkof]lutf dfk{mtnfe c;'Ng ;Sg'x'G5 . nlIddxfr~rnf l5g . h8tf, l:y/tfnIdLnfO{ clk|o 5 . nIdLsf] ;xrfo{nIdL;+u bf}8]/ dfq k|fKt x'G5 . ;a}b[li6n] x]bf{ wg ;~ro ug{' dg'iosf]k/d st{Jo kf] /x]5 . wgnfO{ kfksf]d"nsf/s dfÌ' d"v{tf dfq xf] . kfksf]lktf wg g eP/ bl/b|tf /x]5 .ælIf0ff g/fM lgis?0ff ejlGt .Æ of]s'/f 7Ls xf] ls ef]sf hgtf 5g

eg] /fi6«sf lgod l9nf x'g hfG5g\,nf]s dof{bf x/fp�5g / ljb|f]x x'G5,cgfrf/ a9\5 . ef]sf] dfG5] df s?0ffx'Ì, p;df ha s7f]/ efj cf"pm5,p;n] ;/ntfsf ;fy q"m/tf / kfkug{ ;S5 . lgsDdf dfG5] n] cfkm";�udfq x}g, ;dfh / /fi6«;�u ck/fwug{ ;S5 . o:tf] dfG5]n] :jo+ s]xLsdfPsf] x'Ì, p;n] c?åf/f cflh{twgsf] pkof]u u5{ / ;dfh, /fi6«nfO{IfL0f kf5{ . wg ;~rodf pBtdfG5]n] cfk\mgf] k'?iffy{åf/f :jo+ tyfb]z / ;dfhsf] klg s]lx sNof0fu/]s} x'G5 .

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ef]Ug ;Sg] p2]Zosf] k|flKtsfnflu dfq} ;fdflhs ;xsfo{

;Dej 5 . o:tf p2]ZoGo"gtd ef}lts cfjZostf,:jf:Yo, af}l4stf, cj;/cflb k|;Ggtfx? x'g\ .

oxf�;Ddsf] ;dfgtfdf k|To]s;dfhn] ;xsfo{ ug{}k5{ .

o:tf k|;Ggtfx?n] cGoeGbf>]i7tfsf] bfaL ub{}g .

clwstd ef}lts cfjZostf,:jf:Yo, af}l4stf, cj;/ cflb

k|;Ggtfx?sf nflu s'g} klg;dflhs Joj:yfdf ;xsfo{

;Dej x'Gg . o;df c?eGbf>]i7tf k|dfl0ft ug{'kg{] ePsfn]

;xsfo{ ;Dej 5}g .k|lt:kwf{Tds ljhoåf/f clh{tk|;Ggtf ;a}åf/f ef]Uo x'�b}g .

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ljs]Gb|Ls/0f, vf]h, nrstf, cg's"ntf, k|lt:kwf{, u|fxsd"vL lqmofsnfk / u'0f:t/sf lx;fan] ;/sf/af6ck]lIft gofF dfux?sf] ;Gbe{df ;/sf/dfly p;sf] sfo{ If]q k'gM kl/eflift ug{ j]xb / bjfjx? k/]sf 5g\ .;/sf/sf] sfo{ If]q a9\bf] hgrfxgf / kl/jlt{t jftfj/0fsf] emf]Ssfdf uDeL/ k'gk{l/efiffsf] vf]hLdf 5 .;/sf/n] s] ug{' k5{ / s] ug'{ x'Fb}g eGg] ;jfndf oxfF w]/} ljjfb p7]sf 5g\ . hgtfsf] pn{Fbf] rfxgf kl/k"lt{ ug{k/Dk/fut sd{rf/LtGq c;dy{ / gfsfd ;fljt ePsf] 5 eg]/ Jofks cfnf]rgf x'g] u/]sf] 5 . ca sd{rf/LtGqsf]ljsNkdf Jofks vf]hx? z'? ePsf 5g\ . kl/0ffd pGd'v k|zf;g, l;sfO{ pGd'v ;+u7g l;4fGt, users pay,cfly{s pbfl/s/0f, ;/sf/L lgoGq0fsf] clgodg, pBdL ;/sf/ / dfud'vL ljsf; h:tf cjwf/0ffx?sf] pbon]c;n zf;gnfO{ lgZro g} ;Dej / k|fKo agfPsf 5g\ . ljjfb s] s'/fdf 5 eg] ;/sf/sf] k/Dk/fut sfo{If]qsf] clnslt k'gJof{Vof ub}{ u}/;/sf/L / lghL If]qsf] ;]jf k|bfg ug]{ sfo{ hf] ;/sf/af6 ck]lIft lyof]To;nfO{ p;sf] xftaf6 lems]/ u}/ ;/sf/L / lghL If]qtkm{ k|f]T;flxt ul/g' kg]{ ePsf] 5 .

gofF k|j[lQx? h:tf] ;fj{hlgs�lghL ;fem]bf/Lsf] pTyfg, ;]jf k|bfg ug]{ sfo{df ljsNkx?sf] vf]hL, ;]jfbftfx?df;]jf k|bfg ug]{ sfo{df k|lt:kwf{, gofF ah]6 k|0ffnL /pBdL ;fj{hlgs Joj:yfkg cflb ;f]+rx?n] ;/sf/sf]k/Dk/fut sfo{ If]qdf plrt ;'wf/ NofPsf 5g\ .;fj{hlgs k|0ffnLx?nfO{ k'g;{+/rgf ug'{ / ;/n Pj+pkof]uL agfpg Pp6f alnof] OR5f cfjZos 5 .h:tf]� gfkmfd'vL ;fj{hlgs sDkgLx?sf] l;h{gf ug]{,u|fxsd'vL nIox?, sfo{qmdx?, cleofgx? / p2]Zox? ckgfpg], ;du| u'0f:t/o'Qm Joj:yfkg ckgfpg], gofFljrf/x?sf nflu gofF sfo{ ;Dkfbg k|]/0ff leq\ofpg], k'/fgf k|ljlw / paradigm x? 5f]8\g] / cGj]if0fsf nfluhf]lvd p7fpg] k|jn rfxgf (urge) x'g'k5{ .

clxn] Pp6f a9\bf] k|j[lQ lgDg s'/fx?df 5� k|ltkmno'Qm Joj;flos nufgL, ;fj{hlgs ultljlwx?sf]lghLs/0f, ahf/f]Gd'vtf / k|lt:kwf{, ;]jfsf cfwf/df ;Demf}tf, ;xeflutfd"ns Joj:yfkg, ;+nUgtf / ;zlQms/0f,sd{rf/L s6f}tL, sd{rf/LtGqsf] pko'Qm cfs[lt, lgodd'vL geO{ kl/0ffdd'vL hf]8, kmh'n vr{df /f]s, hfn;fh/ clVtof/ b'?kof]udf k|ltaGw, tdfd ultljlwdf clgodg / delicensing, sd{rf/LtGq aflx/ ;d:ofsf];dfwfg / vf]hL, :jo+;]jL ;+:yfx?nfO{ k|f]T;fxg, ;fd'bflos / pkef]Qmf ;d"x, Joj:yfksLo cEof;sf] nfluk|ljlw ;~rfng user-pay cflb .

s] ljZjf; al9/x]sf] 5 eg] ;/sf/sf] e"ldsf ;]jf k|bfg ug]{lt/ xf]Og a? ahf/ cGo ;+oGqaf6 ;]jfx? k|bfgug]{tkm{ x'g'k5{ . Osborne / Gaebler n] eg]sf 5g\�;/sf/sf] sfo{ If]q / e"ldsf catalytic x'g'k5{ .steering rather than rowing aGg'k5{ .

lxhf]cfh ;/sf/sf] sfo{ If]q ahf/ / ;+:yfx?sf] k'g;+{/rgf, kl/jt{gsf] cjnDag / Joj:yfkg, yf]/} k};fn]w]/} sfd ug]{, ;dfhsf] g]t[Tj lbg], kl/jt{gsf] cjnDag / Joj:yfkg, gLlt lg0f{o agfpg] t/ ;]jf k|bfg gug]{,k|lt:kwf{Tds dfux?sf] ;Gt'ng ldnfpg], nIo / p2]Zo k|flKtdf ;jf{lws pQd tl/sf kQf nufpg], nrstf,cg's"ntf, k|lt:kwf{ k}bf ug]{, hjfkmb]xL / u'0f:t/Lo sfo{ ;Dkfbg leq\ofpg], lghL / ;fj{hlgs ;+:yfx?af6 w]/}k|fKt ug]{, gofF e"ldsf / pQ/bfloTj lbg] / k'/fgf] 5f]8\g], k/LIf0f / cg';Gwfg k|a4{g ug]{, ;d:ofsf] pko'Qm;dfwfg vf]Hg]tkm{ s]lGb|t 5 .

cfw'lgs ;/sf/x/n] Stakeholder x?nfO{ ;Fu} lg0f{odf k'Ug s]lGb|t ug'{k5{ . /0fgLlts sfo{qmdx? lng]sfd (assuming), cfly{s tyf ;fdflhs ;+:yfx?nfO{ ultlzn /fVg] sfd, cGo ;+:yfx?nfO{ lglZrt agfpg]sfd / tL ;+:yfx?af6 k|bfg ul/g] sfd s'/fnfO{ l7s 9+uaf6 rnfpg] sfd, ;fj{hlgs ;]jf lghL xftx?af6lbg] sfd, ;xeflutfTds k|hftGqsf dfWodaf6 gful/sx?nfO{ ;zQm kfg]{ sfd, u|fxsnfO{ ;Gt'i6 kfg]{ sfd,lgodd'vL ;+3 ;+:yfx?nfO{ cloefgd'vL ;/sf/df ?kfGt/0f ug]{ sfd, clxn] rNtL gx'g] (obsolete)sfo{qmdx? kG5fO{ gofF�gofF sfo{qmdx? cjnDag ug]{ sfd, nufgLdf eGbf kl/0ffddf hf]8, vr{ eGbf cfodfhf]8, pkrf/df eGbf /f]syfddf k|fyldstf lbg] sfddf nufOg' k5{ .

;/sf/sf] oxL gljg cfofd / sfo{ If]qn] sd{rf/LtGqdfly Jofks bjfj l;h{gf u/]sf] 5 / gofF k|ljlwnfO{leq\ofpg] sfo{ ;xh agfPsf] 5 .

;d:ofx? ;dfwfg ug{ ;/sf/ tLa| (intense) bjfjdf k/]sf] 5 . ;/sf/x?n] s'g} klg If]q Tof] ;fj{hlgsxf];\ jf lghL, t];|f] If]q (third sector) nfO{ ;fj{hlgs ;d:ofx? ;dfwfgsf nflu ;dfj]z ug{ ;S5g\ .;]jfx? lghL If]qdf k'¥ofOg ;S5g\ t/ zf;g (governnance) ug]{ sfd eg] k'¥ofpg ;lsGg . Discretesfo{x? lghLs/0f ul/g ;S5g\ t/ zf;gsf tdfd k|lqmofx? eg] lghL If]qdf ;'Dkg ;lsb}gg\ .

;/sf/sf] sfo{ �M ;/sf/sf] sfo{ If]q gLlt Joj:yfkgsf] If]qdf, ahf/ lgodg ug]{ sfo{df, ;dGofo k|bfgug]{ sfo{df, zf]if0f / e]b\efj /f]Sg] sfo{df, ;]jfsf] :yfloTj / lg/Gt/tf lglZrt ug]{ sfo{df / ;fdflhs ;';+ult(social cohesion) lglZrt ug]{ sfo{df ;b}j dxTjk"0f{ /xg]5g\ . To:tf If]qx? klg 5g\ hxfF lghL If]qn]eGbf ;/sf/n] w]/} /fd|f] ug{ ;S5 .

lghL If]qnfO{ vf; u/]/ gofF vf]h, ;kmntfsf] replication lt/, b|'tultn] kl/jt{gsf] lbzflt/, c;kmnultljlwx? TofUg] sfo{lt/ / hl6n Pj+ k|fljlws sfdsfhx?sf] sfof{Gjoglt/ k|f]T;flxt ul/g' pko'Qm x'G5 .lghL If]qnfO{ g]t[TjbfoL e"ldsf lbOg' k5{ hxfF ahf/ ;+oGq /fd|f];Fu rn]sf] 5 .

t];|f] If]q (third sector) nfO{ clnslt gfkmfd"ns jf gfkmfljxLg aGg ;d]t kl/rflnt x'g] lx;fan]nufOg' k5{ . JolQmx?k|lt s?0ff (compassion) / k|lta4tf Pj+ u|fxsx?k|lt cgGo ljZjf; hGdg' k5{ .o;n] j}olQms Wofg / g}lts lgod Pj+ Jojxf/sf] JolQmut lhDd]jf/L nfu" ug]{tkm{ kl/rflnt ul/g'k5{ .

cfhef]ln ;/sf/sf] sfo{If]q ;fj{hlgs gLlt lgdf{0f, sfg"gL 9fFrfsf] l;h{gf, ;fdflhs cGofosf] pGd"ng,;fdflhs If]qsf] nufgL, k"jf{wf/ lgdf{0f, dfgj ;|f]t ljsf;, cg';Gwfg Pj+ ljsf; / ahf/ ;+oGq Pj+k|lt:kwf{sf nflu ;+oGqx?sf] lgodg z'? ug]{ ;jfndf s]lGb|t aGg'k5{ .

;fj{hlgs gLlt lgdf{0fn] lgoldt gLlt 9fFrfsf] ljsf;sf] kl/sNkgf ug{, k|ToIf ;+nUgtf eGbf OlR5tlbzftkm{ ;fdflhs, cfly{s lgodgnfO{ cjnDag ug{ ;Sg'k5{ .

ljsf;sf] k"jf{wf/ cGtu{t oftfoftsf] ljsf; Pj+ ljB'tsf] ljsf; cflb ;d]6\b} hg;xeflutf;Fu} u|fdL0fk"jf{wf/sf] nflu kl/of]hgfx?sf] 5gf}6 ;dfj]z x'G5 .

;fdflhs, cfly{s ljsf;df hf]8 cGtu{t ul/aL lgjf/0f, lbuf] ljsf;, u|fdL0f k"jf{wf/sf] l;h{gf, ;fdflhs;]jfsf If]qx?df dfgjLo ;fwgsf] nufgL ;d]t kb{5 .

;]jf k|bfo (service delivery) cGtu{t hgtfnfO{ lbg] ;]jfsf] lsl;d / u'0f:t/ klxrfg ug{ ;Sg'k5{ .;]jf lbg] ;+:yfx?sf] e"ldsf klxNofpg ;Sg'k5{ . lghL / u}/;/sf/L If]qx?af6 lbOg] ;]jfx?sf] ;'kl/j]If0f /cg'udg ug]{ ;+oGqsf] :yfkgf ug'{k5{ . ;fy;fy} ;]jf lbg] s'/fdf, ;]jf lbFbf lgoldt ;+oGqsf] ljsf; ug]{s'/fdf, k|bfg ul/Psf] ;]jfsf] u'0f:t/ hfFRg] s'/fdf, jftfj/0fnfO{ ;xfos agfpg / ;]jfx? k|bfg ug{sf nfluc? If]q kl/rfng ug{, ;]jfsf] dfux?aLr ;Gt'ng Nofpg ;s] /fd|f] x'G5 .

;fdflhs Gofo (social justice) lk5l8Psf If]q, nfeflGjt x'g g;s]sf, kfvfdf k/]sf (marginalized)hgtfsf] klxrfg u/]/ pgLx?sf] sNof0fsf nflu sfo{qmdx? th'{df ub}{ ;fdflhs ljs[ltx?df k|ltaGw nufpFb}zf]if0f / e]b\efjsf lj?4 9fFrfx?sf] lgdf{0faf6 ;Dej x'g] u5{ .

k|f]T;fxg / k|a4{gåf/f lghL If]qsf] ljsf; eGgfn] jfl0fHo tyf pBf]usf] If]qdf lghL If]qsf] cfsif{0f x'g]jftfj/0f l;h{gf ug]{ sfo{ ;d]t kb{5 . /fli6"o If]qx?df cf/lDes nufgL h:tf] k|fyldstf k|fKt To:tf If]qhxfF lghL nufgL kl5 k/]sf] 5 t/ qmd};Fu lghL If]qdf ultljlw ;b}{5g\ ToxfF k"jf{wf/ ljsf;, k|ljlw ljsf; u/LlghL If]q cfslif{t ePsf If]qx?df ;/sf/L lgoGq0f sd ub}{ cf}Bf]lus ljsf; gLlt cjnDag ub}{ Jofkf/nfO{clgodg Pj+ sf]6f nfO;]G; / lgoGq0f k|yf x6fpg]lt/ nfUg' k5{ .

csf]{ kIf dfgjLo ;fwg ljsf; xf] . cg';Gwfg / tflnd ;~rfng ug]{ h'g sfdx? c? If]qaf6 x'g ;Sb}gg\zflGt ;'Joj:yf, ;fj{hlgs ;'/Iff, :jf:Yo / ljsf;, ;]jf k|bfoL Pj+ sfo{qmdx?sf] cg'udg d"NofÍglt/nfUg'k5{ .

/0fgLlt (strategy) �M�M�M�M�M pk/f]Qm pknAwLx? hf] ;/sf/sf] sfo{ If]qleq k5{g\ k|fKt ug{ ;/sf/ cfly{sultljlwx? clgodg ug{, ;/sf/L lgod lgb]{lzsfaf6 d'Qm /fVg, u}/ ;/sf/L ;+:yfx?sf] k|a4{g ug{ / ;/sf/åf/feO/x]sf ljleGg ultljlwx?df lghL If]qsf] ;xeflutf j[l4 ug{ / To;nfO{ k|f]T;fxg lbg o:tf /0fgLltx?ckgfpg' k5{ .

cfly{s ultljlwx?sf] clgodg (deregulating economic activities) �M�M�M�M�M o;n] ;/sf/L ultljlwx?sf]clgodg rfxG5 . k|lt:kwf{sf] ljsf; / klxrfg vf]H5 . PsflwkTo g} hdfpg] sfg"gL 9fFrfsf lj?4 cg's"nljsf; rfxG5 . k"FhLsf] ahf/ lgodg / ljsf; Pj+ cfly{s If]qdf lghL If]qsf] ;xeflutf ljsf; ug{ / To;nfO{k|f]T;fxg lbg vf]H5 .

;/sf/L lgodgsf] v's'nf]kg (decontrolling government regulations) �M�M�M�M�M ahf/ ;+oGqnfO{ kl/rfngu/L j:t' / ;]jfsf] d"No tf]Sg], dhb'/L Hofnf, ljb]zL ljlgdo b/ cflb ahf/df 5f]l8lbg'k5{ . ;fgf (petty)ultljlwx?df nfO;]G;sf] k|yf cGTo x'g'k5{ . h:tf] ko{6sLo lsl;dsf] /]i6'/]06, l;g]df pTkfbg tyf nfOa|]/L;~rfng .

k|a4{g (promoting) �M�M�M�M�M Pg=lh=cf]=x?nfO{ ;fdflhs sNof0fsf] If]qdf, ;]jf k|bfg ug]{ If]qdf h:tf]vfg]kfgL cfk"lt{, ;/;kmfO{, :jf:Yo, lzIff, ;fd'bflos ljsf;, jftfj/0f ;+/If0f / r]tgf clej[l4 Psk|sf/n]/fd|f] /0fgLlt aGg ;S5 . Pg=lh=cf]=If]qsf] ;|f]t cfjZos 5 . logLx?nfO{ ;fgf] :s]nsf ljsf; of]hgfx?sf]sfof{Gjog dd{t ;Def/ / ;~rfngdf ;+nUg u/fOg' k5{ . ;fgf o'h/ ;d"xx? / k/Dk/fut ;fd'bflos;+u7gx? kl/rflnt ug'{sf ;fy;fy} ;]jf k|bfg ug]{ sfo{df pT;flxt ul/g' k5{ .

lghL If]qsf] ;xeflutf (private sector participation) �M�M�M�M�M kf7\ok':tsx?sf] pTkfbg / ljt/0f /k/Dk/fut ;fj{hlgs If]qsf sfo{x? lghL If]qnfO{ lbP/ h:tf] dn, vfBfGgsf] kl/jxg, kf7\ok':tsx?sf]pTkfbg / ljt/0f, df5fkfng tyf afnL ljsf;, b'Uw ljsf;åf/f lghL If]qsf] ;xeflutf a9fpg ;lsG5 .

Contracting Out �M�M�M�M�M To:tf lhDd]jf/Lx? hf] sfof{no dd{t ;Def/, s'l/o/ k|0ffnL, sDKo'6/ ;kf]6{ cflblghL If]qnfO{ lbFbf ;/sf/sf] sfo{ If]q kl/jt{g ug]{ Pp6f ultnf] /0fgLlt x'g;S5 .

lghLs/0f �M�M�M�M�M /fHoåf/f ;~rflnt pBf]ux?sf] lghLs/0f ;/sf/sf] sfo{ If]qnfO{ k'gJof{Vof ug]{ csf]{ ;zQm/0fgLlt x'g ;S5 . o:tf] /0fgLlt Tof] a]nf emg\ ;zQm x'G5 h'ga]nf /fli6"o cy{tGqsf nflu logLx? c;Ifd /ef/ eO/x]sf x'G5g\ .

;/sf/sf] sfo{ If]q�@ofjtx]/fnf] ;fKtflxsx]/fnf] ;fKtflxs @)^$ sflQs #) ut] z'qmaf/ %

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;?ljGbx]/fnf] M dfgjclwsf/ eg]sf] s] xf] <x]/fnf] M dfgjclwsf/ eg]sf] s] xf] <x]/fnf] M dfgjclwsf/ eg]sf] s] xf] <x]/fnf] M dfgjclwsf/ eg]sf] s] xf] <x]/fnf] M dfgjclwsf/ eg]sf] s] xf] <cfrfo{ Mcfrfo{ Mcfrfo{ Mcfrfo{ Mcfrfo{ M Pp6f dfgjnfO{ :jtGq ?kdf p;sf] k"0f{ JolQmTjljsf; ug{ cfjZos kg]{ ;Dk"0f{ tTjx? dfgjclwsf/leqk5{g\ . dflg;nfO{ s'l07t ul/g] u/L ul/Psf ;a} lqmofsnfkx?n] dflg;sf]ljsf;df afwf k'¥ofp�5 . o:tf ;a} dfgjclwsf/ k5{g\ .x ]/fnf ] M kf ]v/fdf dfgjclwsf/ lj?4sf s] s:tf 36gfx?x ]/fnf ] M kf ]v/fdf dfgjclwsf/ lj?4sf s] s:tf 36gfx?x ]/fnf ] M kf ]v/fdf dfgjclwsf/ lj?4sf s] s:tf 36gfx?x ]/fnf ] M kf ]v/fdf dfgjclwsf/ lj?4sf s] s:tf 36gfx?x ]/fnf ] M kf ]v/fdf dfgjclwsf/ lj?4sf s] s:tf 36gfx?36]sf 5g\ <36]sf 5g\ <36]sf 5g\ <36]sf 5g\ <36]sf 5g\ <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M xfd|f] sfof{nodf ;/sf/lj?4sf bzj6f eGbf sd ph'/L 5g\ eg]dfcf]jfbL lj?4sf ph'/Lx?n] ;o gfl3;Sof] . cl3Nnf] ;dodf k|x/L /;]gfaf6 dfgjclwsf/ pNn+3gsf w]/} ph'/Lx? ky]{ . t/ clxn] dfcf]jfbLsfrGbf, wDsL, cft+s w]/} dfqfdf ePsf] kfOPsf] 5 . k|x/Ln] zflGt ;'/Iffsf]k|Tofe"lt ug{ g;Sg' klg dflg;x?sf nflu 7"nf] c;'/Iffsf] ljifo ag]sf]5 . h;n] ubf{ pgLx? o:tf cft+s lj?4 pleg ;Sb}g . klxnf klxnfeGbfclxn] dflg;x?df afu]{lgª kfj/ eg] a9]/ uPsf] 5 . t/ dfcf]jfbL k'gMh+undf kmls{g] xf] ls eGg] qf;n] pgLx? 7"nf] l/S; lng rfx�b}gg\ .x ]/fnf] M ;fdflhs / ;f�:s[lts ?kn] dfgjclwsf/sf] xgg\sf]x ]/fnf] M ;fdflhs / ;f�:s[lts ?kn] dfgjclwsf/sf] xgg\sf]x ]/fnf] M ;fdflhs / ;f�:s[lts ?kn] dfgjclwsf/sf] xgg\sf]x ]/fnf] M ;fdflhs / ;f�:s[lts ?kn] dfgjclwsf/sf] xgg\sf]x ]/fnf] M ;fdflhs / ;f�:s[lts ?kn] dfgjclwsf/sf] xgg\sf]s:tf] cj:yf 5 <s:tf] cj:yf 5 <s:tf] cj:yf 5 <s:tf] cj:yf 5 <s:tf] cj:yf 5 <cfrfo{ Mcfrfo{ Mcfrfo{ Mcfrfo{ Mcfrfo{ M ;fdflhs clwsf/sf] hgr]tgf gePsf sf/0fn] dflg;x?sf];fdflhs ?kd} dfgjclwsf/sf] xgg\ ePsf] 5 . d'lZnd ;d'bfosfljBfyL{x?nfO{ pgLx?sf] db|;fsf] cWoog kZrft\ pRr lzIff xfl;n ug{sfg"gL dfGotf glbPsf sf/0fn] pgLx? cfkm\g]f wfld{s cWoogdf dfq;Lldt x'G5g\ . ls t pgLx?nfO{ db|;fsf] k|df0fkqn] pRr lzIff xfl;nug{ ;Sg] clwsf/ lbg'k¥of] x}g eg] ;r]tgfsf sfo{qmdx? nu]/ aflx/LlzIffsf] dxTj a'emfpg ;Sg' k¥of] . ;fdflhs If]qdf ;8s afnaflnsfsf]dfgjclwsf/sf] Jofks xgg\ ePsf] 5 eg] dlxnf a]rlavgsf] 36gf klg7"nf] ;+Vofdf kfOPsf] 5 . o:tf 36gfx?df sdL cfcf];\ eg]/ To:tfIf]qdf xfdLn] tflnd, uf]i7L, ;]ldgf/, OG6/PS;g, k|rf/�k|;f/, gof�pTkGg ePsf ;d:ofsf] hfgsf/L lbP/ afnaflnsf, l8e]nkd]G6 Ph]G;Lx?/ kqsf/x?nfO{ ;hu u/fpg] u5f}+{ .x]/fnf] M ;j{;fwf/0f gful/sn] a'em\g] u/]/ dfgjclwsf/sf s]x]/fnf] M ;j{;fwf/0f gful/sn] a'em\g] u/]/ dfgjclwsf/sf s]x]/fnf] M ;j{;fwf/0f gful/sn] a'em\g] u/]/ dfgjclwsf/sf s]x]/fnf] M ;j{;fwf/0f gful/sn] a'em\g] u/]/ dfgjclwsf/sf s]x]/fnf] M ;j{;fwf/0f gful/sn] a'em\g] u/]/ dfgjclwsf/sf s]s:tf sfo{qmd tkfO{x?n] Nofpg' ePsf] 5 <s:tf sfo{qmd tkfO{x?n] Nofpg' ePsf] 5 <s:tf sfo{qmd tkfO{x?n] Nofpg' ePsf] 5 <s:tf sfo{qmd tkfO{x?n] Nofpg' ePsf] 5 <s:tf sfo{qmd tkfO{x?n] Nofpg' ePsf] 5 <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M xfdLn] ljBfyL{x?sf kf7\ok':tsd} dfgjclwsf/ ;DaGwL hfgsf/L/fVof}+ eg] ljBfyL{x? x's{b} cfkm\gf dfgjclwsf/k|lt ;hu / dfgjclwsf/sf];Ddfg ug{ ;Sg] eP/ x's{G5g\ eg]/ xfdLn] kf]ln;Lut lx;fadf 7"nf] k|oTgul//x]sf 5f}+ . of] kl5 sf]if{ a'sdf cfpg] ;Defjgf 5 . o:tf] eOlbof] eg]dfgjclwsf/sf] IF]qdf 7"nf] km8\sf] x'G5 . kf7\ok':ts nufot nf]s ;]jfcfof]udf ;dfj]z ug]{, k'ln;sf tflndx?df ;dfj]z ug]{, ;]gfsf tflndx?df;dfj]z u/fpg];Dd xfdLn] k|of; u/]sf 5f}+ .x]/fnf] M /fli6«o dfgjclwsf/ cfof]usf] d'Vo nIo s] xf] <x]/fnf] M /fli6«o dfgjclwsf/ cfof]usf] d'Vo nIo s] xf] <x]/fnf] M /fli6«o dfgjclwsf/ cfof]usf] d'Vo nIo s] xf] <x]/fnf] M /fli6«o dfgjclwsf/ cfof]usf] d'Vo nIo s] xf] <x]/fnf] M /fli6«o dfgjclwsf/ cfof]usf] d'Vo nIo s] xf] <

cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfof]usf] d'Vo nIo dfgjclwsf/sf] ;+/If0f / ;Da4{g ug'{ xf] . 36gf36\g'eGbf cufl8 jf 36gf 3l6;s]kl5 bf]ifLnfO{ sf/jfxL ug]{, kLl8tnfO{ Ifltk"lt{sf]l;kmfl/; ug]{, ;r]tgf ug]{, tflnd, uf]li7, ;]ldgf/ dfkm{t ;dfhsf cu'jfx?nfO{dfgjclwsf/sf ljifodf hfgsf/L u/fpg] / To:tf 36gf 36]sf] km]nf kf/]dfs;/L dfgjclwsf/sf] ;+/If0f ug]{ eGg] ljifodf hfgsf/L u/fp�5f}+ .x]/fnf] M l;=l8=cf]=n] u}/sfg"gL l;lG8s]6 k|0ffnLnfO{ ;/sf/L tj/af6}x]/fnf] M l;=l8=cf]=n] u}/sfg"gL l;lG8s]6 k|0ffnLnfO{ ;/sf/L tj/af6}x]/fnf] M l;=l8=cf]=n] u}/sfg"gL l;lG8s]6 k|0ffnLnfO{ ;/sf/L tj/af6}x]/fnf] M l;=l8=cf]=n] u}/sfg"gL l;lG8s]6 k|0ffnLnfO{ ;/sf/L tj/af6}x]/fnf] M l;=l8=cf]=n] u}/sfg"gL l;lG8s]6 k|0ffnLnfO{ ;/sf/L tj/af6}dfGotf lbPsf 5g\, o;n] s] dflg;x?sf] OR5f cg';f/sf] sfd u/]/dfGotf lbPsf 5g\, o;n] s] dflg;x?sf] OR5f cg';f/sf] sfd u/]/dfGotf lbPsf 5g\, o;n] s] dflg;x?sf] OR5f cg';f/sf] sfd u/]/dfGotf lbPsf 5g\, o;n] s] dflg;x?sf] OR5f cg';f/sf] sfd u/]/dfGotf lbPsf 5g\, o;n] s] dflg;x?sf] OR5f cg';f/sf] sfd u/]/vfg] clwsf/ xgg\ ePsf] 5}g <vfg] clwsf/ xgg\ ePsf] 5}g <vfg] clwsf/ xgg\ ePsf] 5}g <vfg] clwsf/ xgg\ ePsf] 5}g <vfg] clwsf/ xgg\ ePsf] 5}g <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M o:tf] cj:yfdf xfdLnfO{ s;}n] ph'/L xfn]df jf xfdL cfkm}n] klgsf/jfxLsf] nflu cufl8 a9fpg ;S5f}+ . clVtof/ b'?kof]u u/]sf] dfdnfdfk'g/fj]bg cbfntdf klg d'2f bfo/ ug{ ;lsG5 .x ]/fnf ] M JolQmsf ] dfgjclwsf/ xgg \ eof ] eg ] To;sf ] ph'/L s'gx ]/fnf ] M JolQmsf ] dfgjclwsf/ xgg \ eof ] eg ] To;sf ] ph'/L s'gx ]/fnf ] M JolQmsf ] dfgjclwsf/ xgg \ eof ] eg ] To;sf ] ph'/L s'gx ]/fnf ] M JolQmsf ] dfgjclwsf/ xgg \ eof ] eg ] To;sf ] ph'/L s'gx ]/fnf ] M JolQmsf ] dfgjclwsf/ xgg \ eof ] eg ] To;sf ] ph'/L s'glgsfodf uP/ ug] { <lgsfodf uP/ ug] { <lgsfodf uP/ ug] { <lgsfodf uP/ ug] { <lgsfodf uP/ ug] { <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M JolQmsf] dfgjclwsf/sf] xgg\ eof] eg] pgLx?n] k|x/L k|zf;gdf uP/To;sf] ph'/L xfNg ;S5g\ . k|x/L k|zf;gdf tflnd k|fKt dfgjclwsf/ ;DaGwLhfgsf/ JolQmx? x'G5g\ . t/ k|x/L jf ;/sf/L s'g} klg c+un] gful/ssf]dfgjclwsf/sf] xgg\ u¥of] eg] Tof] xfd|F] ;/f]sf/sf] ljifo aG5 . ;/sf/ ;+ul7tx'G5 / alnof] x'G5 . ;/sf/n] rfx\of] eg] gful/snfO{ h] klg ug{ ;S5 . o:tf]cj:yfdf sdhf]/ cj:yfsf gful/sx?sf] dfgjclwsf/sf] ;+/If0f ug]{ sfd xfd|F]xf] . åGådf xf]ldPsf /fhg}lts kf6L{x?n] klg JolQmsf dfgjclwsf/sf] xgg\ u¥of]eg] To;df klg xfdLn] ;/f]sf/ /fV5f}+ .x ]/fnf ] M dfgjclwsf/sf] pNn+3g ePsf] yfxf ePdf tkfO{ s] s:tfx ]/fnf ] M dfgjclwsf/sf] pNn+3g ePsf] yfxf ePdf tkfO{ s] s:tfx ]/fnf ] M dfgjclwsf/sf] pNn+3g ePsf] yfxf ePdf tkfO{ s] s:tfx ]/fnf ] M dfgjclwsf/sf] pNn+3g ePsf] yfxf ePdf tkfO{ s] s:tfx ]/fnf ] M dfgjclwsf/sf] pNn+3g ePsf] yfxf ePdf tkfO{ s] s:tfsfo{ ug' {x'G5 <sfo{ ug' {x'G5 <sfo{ ug' {x'G5 <sfo{ ug' {x'G5 <sfo{ ug' {x'G5 <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M xfdL o:tf] yfxf kfPdf pNn+3g ug]{ dfG5]nfO{ af]nfpg], aofg u/fpg],cfjZos k/]df 3/x?d} uP/ 5fkf dfg]{, ;/sf/L sfof{nox?df 5fkf dfg]{, si68Lx?df5fkf dfg]{;Ddsf 36gfx? kQf nufP/ 36gfsf] k|s[lt x]/]/ sf/jfxLsf nflul;kmfl/; dfly s]Gb|df k7fp�5f}+ .x ]/fnf] M dfgjclwsf/ pNn+3g x'gfdf d'Vo sf/0fx? s] x'g \ <x]/fnf] M dfgjclwsf/ pNn+3g x'gfdf d'Vo sf/0fx? s] x'g \ <x]/fnf] M dfgjclwsf/ pNn+3g x'gfdf d'Vo sf/0fx? s] x'g \ <x]/fnf] M dfgjclwsf/ pNn+3g x'gfdf d'Vo sf/0fx? s] x'g \ <x]/fnf] M dfgjclwsf/ pNn+3g x'gfdf d'Vo sf/0fx? s] x'g \ <cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M cfrfo{ M dfgjclwsf/ pNn+3g x'g'df gful/sx?df a9\b} uO/x]sf] Ifltk"lt{k|ltsf]cfsif{0f xf] eg] ck/fwL bl08t x'g'k5{ eGg] ;hutfsf] sdL d'Vo xf] . 36gf36]kl5 kLl8tnfO{ ;fdflhs ?kn] g} Ifltk"lt{ lnP/ ldNg nufOG5 eg] ck/fwLnfO{ck/fw u/]afkt s73/fdf pEofpg' k5{ eGg] ;r]tgfdf Jofks sdL 5 . /fli6«odfgjclwsf/ cfof]un] dfgjclwsf/sf] xgg\ ePdf ljgf s'g} z'Ns lgj]bg lng]lgj]bssf] gfd, 7]ufgf k"0f{?kdf uf]Ko /fv]/ sf/jfxLx? cufl8 a9fp�5 . dflg;x?dfbf]ifLnfO{ ;hfo� lbg]eGbf IFltk"lt{ lnP/ cfkm\gf] af6f] nfUg] dfgl;stf a9L 5 .

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a; ofqfdf sl/a ;jf Ps 306f klZrddf kg]{sf:sLs} ;Nofg ufpFdf d hGd]sf] x'F . dfWolds:t/sf] lzIff k'/f ubf{;Ddsf] d]/f] afNosfn ToxfFlaTof] / !$ jif{sf] pd]/b]lv kf]v/f em/]F . To;kl5sf;a} lbgx? kf]v/f;Fu} xfF:b,} v]Nb}, kf}+7] hf]l/ v]Nb},lhl:sFb} o;}sf] sfvdf latfPsf] 5' . ca t nfU5,d]/f] kf]v/fn] dnfO{ slxNo} 6f9f agfpg] 5}g, g td}n] g} d]/f] kf]v/fnfO{ slxNo} 6f9f agfpg ;S5' .d]/f] kf]v/fn] g} dnfO{ pRr lzIff lbnfof], sd{ ug{l;sfof], 3/hd a;fof], cwf{lËgL;Fu >Ldfg\sf] /5f]/f5f]/L;Fu afa'sf] x}l;ot sfod u/fof] . Toltdfq xf]Og, cfkm"leqsf] ;dfhdf Pp6f ;fdflhsk|f0fLsf] ?kdf dnfO{ :yflkt u/fof] d]/f] kf]v/fn] .

x/]s lbg laxfg p7\g] lalQs} d]/f] kf]v/fsf]k|fs[lts >Lk]r jg]/ pleO/x]sf] df5fk'R5«]nfO{r'ld/x]sf] x'G5' . k|fs[lts kfph' ag]/ d]/f] kf]v/fsf]uf]8fdf klxl/Psf] km]jftfndf x/]s lbgsf] lgoldtsd{kl5 lbgel/sf] ysfgnfO{ d]6fpg] u5' { .km]jftfn;Fu} s'l:t v]N5', lhl:sG5', xfF:5', /dfpF5'clg lgoldt sd{n] lbg] u/]sf tgfjx?nfO{ p;};Fula;fpg] u5'{, p;s} dfofdf r'n'{Dd 8'j'lNs df5'{ .o;l/ km]jftfnn] d;Fu lhGblue/ t[Kt gx'g] dfofufFl;;s]sf] 5 . To;} ul/ d]/f] kf]v/fsf ;'sf]dn b'Oxftx?df ;/fËsf]6 / sfx'F8fF8f ;'Gb/ xft] jfnfjg]/ klxl/Psf 5g\ . lgoldt sd{n] lbg] u/]sfkm';{bsf lbgx?sf] pkof]u u/]/ oL b'j} :ynx? r'Dgx/]s dlxgf d ToxfF k'u]]s} x'G5' . clg ToxfFjf6} d}n]d]/f] kf]v/fsf] jf:tljs ?k lgofln/x]sf] x'G5' . d]/fcfFvf slxNo} t[Kt x'Fb}gg\ d]/f] kf]v/fsf] jf:tljs?k lgofn]/ . ljGWojfl;gL, tfnjf/fxL, eb|sfnL h:tfcf:yfsf k|ltsx?sf] ltnx/L nufO/x]sf] 5 d]/f]kf]v/fn] . hxfF d}n] cf�gf] cf:yf la;fpF5', j]bgfkf]V5', 3'sL{ nufpF5', cln jl9 kL8f ePsf j]nf cfF;'g} ;dlk{t ul/lbG5' . jf}4 u'Djf / ljZj zflGt:t'kfsf] df8jf/L / l;nd'Gb|L nufPsf] 5 d]/f] kf]v/fn] .hxfF d km';{bsf] ;dodf uO{ cfkm"nfO{ ;t\dfu{ /zflGtdfu{df nufpg] sf]lzz u5'{, clg d]/f] kf]v/fleqxflj x'Fb} uPsf / d]/f] kf]v/fnfO{ s'?k agfpg]vfnsf ljleGg /demdx?n] l;sfPsf w'nf] d}nf]x?nfO{6s6SofP/ emfg]{ sf]lzz u5'{ . km'ln / a'nfFlssf]?kdf d]/f] kf]v/fn] klxl/Psf cGt/f{li6«o kj{lto;+u|xfno, cGgk"0f{ ;+u|xfno, If]lqo ;+u|xfno h:tfuxgfsf 6nsleq d]/f] kf]v/fsf] ;+:s[lt / p;sf]Oltxf; lgofNg] d]/f] afgL al;;s]sf] 5 . hxfFaf6d}n] d]/f] kf]v/fsf] cToGt} uf}/jzfnL ;+:s[lt /Oltxf; e]6fO/x]sf] 5' . To;} u/L dx]Gb|u'kmf, rd]/]u'kmf, u'Kt]Zj/ u'kmf, kftfn] 5fFuf] h:tf d]/f] kf]v/fsf

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Career-Concern

Graphic Art ManagersThe following are positions or responsibilities and

usually titles, held by experienced graphic designersin related management roles:Creative Director

Creative directors are in charge of a creative teamthat produces artwork to be displayed in advertisingcampaigns, or on products. A creative team can consistof artists (e.g. art directors graphic designers,illustrators, photographers, copywriters, productionartists) and a production staff. Creative directors initiateor inspire creative ideas and make sure that the artworks include those ideas to the client's satisfaction.Creative directors usually are promoted from an artdirector or copywriter position. A creative directors jobmay also involve responsibilities usually associatedwith a client representative or a project manager.Art Director

Art directors make sure that illustrators andproduction artists produce and complete their workon time and to the creative director or client'ssatisfaction. Art directors also play a major role in thedevelopment of a project by making decisions on thevisual elements of the project, and by giving the finalsay on the selection of models, art, props, colors,and other elements. Art directors need advancedtraining in graphic design as they often do artworkand designing themselves. However, an art director'stime may be consumed doing supervisory andadministrative work.Art Production Manager

Art production managers or traffic managers overseethe production aspect of art to improve efficiency andcost effectiveness. Art production managers superviseartists or advise the supervisors of artists. Creativedirectors and art directors often assume the role of artproduction managers, especially when production costis not a critical concern.Hands-on Graphic Designers

The following are positions or responsibilities, notnecessarily titles, held by art directors and graphicdesigners:Brand identity developer

Brand identity design is concerned with the visualaspects of a company or organization's brand or identity.A brand identity design is the visual element thatrepresents how a company wants to be seen; it is thecompany's visual identity, and is how a companyillustrates its 'image.' A company's brand identity can berepresented in terms of design through a unique logo, orsignage, and is then often integrated throughout all theelements of a company's materials such as businesscards, stationery, packaging, media advertising,promotions, and more. Brand identity may include logodesign. Brand identity development is usually acollaborative effort between creative directors, artdirectors, copywriters, account managers and the client.Logo Designer

The job of a logo designer is to provide a new andinnovative way to express the key message of acompany through an image. Logo designers take theinformation given to them by the client and work, usingtheir own creativity along with marketing strategy tofind an appropriate image that their client can use torepresent what they are trying to encourage, or sell,or what they are about. It is not likely that a companywill specialize in logo design or have a position for adesignated logo designer. Art directors and graphicdesigners usually perform logo designs.Illustrator

Illustrators conceptualize and create illustrationsthat represent an idea or a story through two-dimensional or three-dimensional images. Illustratorsmay do drawings for printed materials such as books,magazines, and other publications, or for commercialproducts such as textiles, packaging, wrapping paper,greeting cards, calendars, stationery, and more.Illustrators use many different media, from pencil andpaint to digital formatting, to prepare and create theirillustrations. An illustrator consults with clients in orderto determine what illustrations will best meet the storythey are trying to tell, or what message they are tryingto communicate. Illustrating may be a secondary skillrequirement of graphic design or a specialty skill of afreelance artist, usually known for a unique style ofillustrating. Illustration may be published separatelyas in fine art. However, illustrations are usually insertedinto page layouts for communication design in thecontext of graphic design professionsVisual Image Developer

Similar to illustration are other methods of developingimages such as photography, 3D modeling, and imageediting. Creative professionals in these positions arenot usually called illustrators, but are utilized the same

Heralo Weekly Friday, Nov. 16, 2007 6

way. Photographers are likely to freelance. 3Dmodelers are likely to be employed for long-termprojects. Image editing is usually a secondary skill toeither of the above, but may also be a specialty to aidweb development, software development, or multimediadevelopment in a job title known as multimedia specialist.Although these skills may require technical knowledge,graphic design skills may be applied as well.Multimedia Developer

Multimedia developers may come from a graphicdesign or illustration background and apply thosetalents to motion, sound, or interactivity. Motiondesigners are graphic designers for motion. Animatorsare illustrators for motion. Videographers arephotographers for motion. Multimedia developers mayalso image edit, sound edit, program, or composemultimedia just as multimedia specialists.Content Developer

Content developer is a generic term used fordescribing illustrators, visual image developers, andmultimedia developers in software and webdevelopment. The term has a broader scope thatincludes non-graphical content as well. The genericname for content that is used in a digital compositionare digital assets.Visual Journalist

Visual Journalists, also know as Infographic Artistscreate information graphics or Infographics; visualrepresentations of information, data or knowledge.These graphics are used anywhere where informationneeds to be explained quickly or simply, such as insigns, maps, journalism, technical writing, andeducation. They are also used extensively as tools bycomputer scientists, mathematicians, and statisticiansto ease the process of developing and communicatingconceptual information. They are applied in all aspectsof scientific visualization.Layout artist

A layout artist deals with the structure and layout ofimages and text in a pleasing format for printed media.This can include magazine work, brochures, flyers,books, CD booklets, posters, and similar formats. Formagazines and similar productions, color, typeface,text formatting, graphic layout and more must beconsidered. Is the chosen typeface good for long termreading, or will the eyes get tired? Does that titletypeface fit the feel of the rest of the article? Are thephotos arranged in such a way that is pleasing to theeye, and directs the reader in the right flow or direction?These are just some of the questions a layout artistmust ask themselves. Page layouts are usually doneby art directors, graphic designers, production artistsor a combination of those positions. Entry level layoutwork is often known as paste up art. Entry level layoutgraphic designers are often known as production artists.Interface Designer

Interface designers are graphical user interface (GUI)layout artists. They are employed by multimedia,software, and web development companies. BecauseGUI elements are interactive, interface design oftenoverlaps interaction design. Because interfaces arenot usually composed as single computer files,interface design may require technical understanding,including graphical integration with code. Because,interfaces may require hundreds of assets, knowledgeof how to automate graphic production may berequired. An interface designer may hold the job titleof web designer in a web development company.Web Designer

A web designer's work could be viewed by thousandsof people every day. Web designers create the pages,layout, and graphics for web pages, and play a key rolein the development of a website. Web designers havethe task of creating the look and feel of a website bychoosing the style, and by designing attractive graphics,images, and other visual elements, and adapting themfor the website's pages. Web designers also designand develop the navigation tools of a site. Web designersmay make decisions regarding what content is includedon a web page, where things are placed, and how theaesthetic and continuity is maintained from one screento the next. All of this involves skill and training incomputer graphics, graphic design, and in the latest incomputer and web technology.

Depending on the scope of the project, web designmay involve collaboration between software engineersand graphic designers. The graphic design of a websitemay be as simple as a page layout sketch or handlingjust the graphics in an HTML editor, while the advancecoding is done separately by programmers. In othercases, graphic designers may be challenged tobecome both graphic designer and programmer in theprocess of web design in positions often known asweb masters.

Graphic Design OccupationsForumStudents'

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Students are welcome to participate on student's forum

Friday, Nov. 16, 2007Heralo Weekly 7

Finding and nurturing futureleadership talent is a primaryconcern for most organizations.How can they identify top people,train them, and-here's the catch-retain them? And do so in the faceof ever-increasing globalchallenges?

W. Earl Sasser and DasNarayandas, Harvard BusinessSchool professors, are experts onthe subject as co-chairs of theSchool's "Program for LeadershipDevelopment: Accelerating theCareers of High-Potential Leaders."PLD invites executives with ten tofifteen years of experience to attendfour modules that focus on suchareas as foundational skills, criticalbusiness functions, strategyformulation and implementation,and personal leadership.

For the organization, according toSasser and Narayandas, talent iskey to competitive advantage. Andfor the talented employee, a hugechallenge is to rise above a singlefunction and gain a broadunderstanding of the business,especially as it operates globally.

In separate interviews, Sasser andNarayandas discussed talentidentification, leadership in action,and what PLD does to helphundreds of executives grow.

"Leadership by definition is amultifaceted term," saysNarayandas, a professor ofbusiness administration with aspecialty in marketing. "Are youmanaging yourself, are youmanaging upwards or the peoplebelow or laterally, or the firm,industry, society? You can lead atso many levels. That complexity isonly going up. It's just not aquestion of leading a small team.It's about leadership in ideas, inactions.

"Add that to the fact that in mostsituations people are dealing withthe global economy, rapidcommoditization, and hyper-competitive environments. So to beable to be flexible and use the rightapproach at the right time andchange as the situation demandsis going to be tough. Not everybodycan do it. That's going to distinguishthe true leaders from people whoare capable but not leaders."

Targeting talentEmployees in large and small

organizations share one advantage,according to Sasser, the UPSFoundation Professor of ServiceManagement and a member of theEntrepreneurial Management Unit.These employees enjoy access totalent-identification systems. Bigorganizations can point to formalprograms led by individuals whosesole responsibility is to find andmentor up-and-comers. And smallcompanies can shine in talentidentification too, as CEOs takenote of future stars. But medium-sized organizations have the mostdifficulty with talent identificationbecause these companies oftenlack the infrastructure and humanresources capabilit ies, saysSasser.

With or without talentidentification programs, how likelyare future leaders to recognizeleadership qualities in themselves?

It's about leadership in ideas, inactions.

"There are some that can see itin themselves; there are some thatneed to be informed," saysNarayandas. "Talent needs to benurtured: Many times it takessomeone else who can recognizethat an individual can think beyondtheir job, can think bigger, and hasthe potential to make a biggerimpact. It's a combination of theenvironment, talent seekers, andraw talent together that bring the

right kind of people to ourprogram."

What should futureleaders learn?

People often have a truedeficiency in finance andquantitative methods,says Sasser. While PLDstudents learn a variety ofbusiness specialties includingstrategy, finance, marketing, andinnovation, the point is that futureleaders often need to break out of afunction where they excel and aimfor a bigger picture of theorganization and its world.

"If they are not trained the right way,they can spend the next twentyyears building deeper and deeperskills in a narrow aspect,"Narayandas says. "What theymight not be asking themselves, orpushing themselves to ask, is:'What if I had knowledge of otheraspects of the business? It wouldactually inform my decisions in abetter way. I could pursue moreproductive lines of action for the firm.'

"Business is only getting morecomplicated. Understanding theinteractions of various aspects ofbusiness becomes very important."

"Let's assume we have fantasticR&D people," he continues. "Theyare building ideas. They might neverask the question, 'Is this relevant tothe company, customers, andmarketplace?' Sometimes theymight just work with the budget theyhave on a potential innovation ratherthan frame a problem in a moreinformed way and be able to go tomanagement and say, 'Look, here'sthe business plan. Here are theresources I would like. This is whatI think we can show.'

"So someone who has anunderstanding of the capitalbudgeting process would beimmediately more likely to go downthat line of action rather than say,'I've been given $50,000, now let metry to do the best I can.'"

You have to understand what you'releading, adds Sasser. Expertise inonly one area-think John Sculley'sunsuccessful jump from Pepsiconsumer marketing to the top ofApple-can be a handicap.

After your organization trains andmentors leaders, how can it retainthem? Talented employees thirst forchallenging assignments, and theyneed to be listened to, says Sasser."If you invest in these people, youmust give them significant work. Ina top management group there arenever enough leaders. Something isalways a stretch for someone.

"There are often conflicts betweenhow fast you can move and how fastthe organization can move you. Ifsomeone doesn't see mobility, theymay leave."

Adapting a leadership styleNot everyone is going to be another

Jack Welch, nor does everyone wantto be, says Sasser. Not everyone willbe CEO some day, and having anenjoyable and challenging careerdoesn't have to mean becomingCEO. The key to career success isto draw on a variety of leadershipstyles at appropriate times.Actionable Leadership, PLD's fourthand last module, effectively holds amirror up to students and, with inputfrom coaches and self-assessments,encourages them to move out of theircomfort zone and explore thepersonal complexities of leadership.

"The unit of analysis isthemselves," says Sasser.

In a top management group thereare never enough leaders.

"The people we are training are inpositions of power, not runningcompanies so much as executingthe vision," explains Narayandas."What is critical for them is tounderstand different leadership

Grooming Next-Generation Leaders

styles that apply indifferent situations. It'sactionable and adaptive.'When should I be a goodfollower, a team member;when should I lead from thefront?' Those are the kindsof skills that we want tobuild in our PLD program.

"Many a time strategy gets set[several] levels above and has toget implemented effectively. Theseare the people who execute it. Soleadership in their context is asmuch about following as it is aboutleading. It's all about managingchange, but change in a givencontext. They're not at the stageof changing companies. Whatthey're doing is challenging statusquo. And so what we teach themis that there is no uniqueleadership style; there are differentstyles, each of which applies indifferent situations."

Teaching leadershipTeaching in PLD is a highlight of

his work at Harvard Business School,says Narayandas. This is due to thestudents' depth of knowledge, theirprofessional experience and energy,and their desire to learn. "PLD isunique in that it is more 'MBA-ish'that any other executive program andyet at the same time more 'executive-ish' than the MBA program. Thepeople who come to PLD have thesame hunger for learning all aspectsof management that the MBAs do.They are open to new theories; they'renot focused on specific problems.

"Yet at the same time, comparedto the average MBA class, the PLDclass has richness. There aredecades of experience in eachclass. People share contexts; theylive many of the problems. It'sexciting in that manner in how it isdifferent from an MBA class. I justthoroughly enjoy it."

Even a marketing class becomesan opportunity to explore thecomplexities of leadership, hereflects.

"I walked into class last week inmy first session of PLD for the firstcase, and I said, 'Who would liketo open this case discussion?What I'd like from the opener arethe answers to three questions:

" What do you want to do in thissituation?

" Why do you do it?" What concerns have you with

your own plan of action?"I said, 'The reason why I'm asking

you to do it in that way is that it'sa way to build up the uniquecharacteristics of a leader. A leaderhas vision: Here's what we're goingto do. A leader has reason: Here'swhy we're going to do it. And aleader has concerns. Everyjourney is fraught with issues andtroubles. A good leader is someonewho anticipated them.'

"People like to follow people whohave vision. People like to followleaders who can explain why we'redoing something. And people liketo follow people who have said,'You know what, it's not going tobe an easy journey; we're going tohave a lot of adversity, but here'swhy I think we can get it done.'

"And this resonated with thestudents. You could see when theybegan to discuss cases later in theprogram that they were followingthe framework. We were doingmarketing that day, yet we weredoing leadership that day too."

Especial Remarks: This articlebased on report of Professors W.Earl Sasser and Das Narayandas,who teach leadership developmentin Harvard Business School'sExecutive Education programs.

(Mr Deepak K Thapa associatedwith NCC Bank Ltd. PokharaBranch as Branch Manager)

Deepak K.Thapa

Love is all I have to-give and take.Love is what brought me to this world.Love is what helped me to grow. Lovehas been everything in my life. Buttoday as I see around what I find thatthat love is the most misunderstoodword. Young people don't understandwhat love is.

The best answer to what love is, Ifound it in Christian Scriptures. It goeslike this, "Love is patient, kind, withoutenvy. Love is not ill-mannered nor doesit seek its own interest. Loveovercomes anger and forgets offences.It does not take delight in wrong, butrejoices in truth. Love excuseseverything, love believes all things, lovehopes all things, and love endures allthings".

Here below I have compiled some ofthe ways to deal when in love. Let meconfess, they are not mine but theyhave helped many young people toface the reality of life and love and copeup with the situation they were in.• If you find in love with someone

who does not love you, be gentle withyour self. There is nothing wrong withyou. Love just didn't choose to rest inthe other person's heart….• If you find someone else in love

with you and you don't love him/her,feel honored that love came and calledat your door, but gently refuse the giftyou cannot return do not takeadvantage, do not cause pain..• If you fall in love with another, and

he/she falls in love with you, and thenlove chooses to leave, do not try toreclaim it or assess blame, let it go.There is a reason and there is ameaning. You will know in time…• Remember that you don't choose

love, love chooses you. All you canreally do is accept it for all its mysterywhen it comes into your life. Feel theway it fills you to overflowing, thenreach out and give it away…• How you deal with love is how you

deal with yourself, and all our heartsfeel the same pains and joys as you,even lives and ways are different...

The first blush of new love is filled tooverflowing, but as love cools, peopleusually revert to seeing their love asneed. They cease to be someone whogenerates love & instead becomesomeone who seeks love. So friends,see where you belong and hang on tolove in that very state.TO MY FRIENDS WHO ARE……SINGLELove is like a butterflyThe more you chase it, the more iteludes youBut if you just let it fly, it will come to you

When you least expect it.Love can make you happy but often it hurtsBut love is only special when you give itto someoneWho is really worth it.So take your time and choose the best.TO MY FRIENDS WHOARE…………..NOT SO SINGLELove isn't about becoming somebodyelse's "PERFECT PERSON". It's aboutfinding someone who helps you becomethe best person you can be.TO MY FRIENDS WHOA R E … … P O S S E S S I V EIt breaks your heart to see the one youlove happy with someone else.But it's more painful to know that the oneyou love is unhappy with you.TO MY FRIENDS WHO ARE…..ENGAGEDThe true measure of compatibility is notthe years spent togetherBut how good you are each other.TO MY FRIENDS WHO ARE………….HEART BROKENHeartbreaks last as long as you want andcut deep as you allow them to go.The challenge is not how to surviveheartbreaks but to learn from them.TO MY FRINEDS WHO ARE…………STILL HOLDING ONThe sad thing about life is when you meetsomeone and fall in loveOnly to find out in the end that it was nevermeant to beAnd that you have wasted years onsomeone who wasn't worth itIf that person doesn't worth it now,It's not going to be worth it a year or 10years from now.TO MY FRIENDS WHO ARE…………AFRAID TO CONFESSLove hurts when you breakup withsomeoneIt hurts even more when someone breaksup with youBut love hurts the mostWhen the person you love has no ideahow you feel about him/her.TO MY FRINEDS WHO ARE…….MARRIEDLove is not about, "ITS YOUR FAULT" but"I AM SORRY".Not "WHERE ARE YOU" but "I AM RIGHTHERE FOR YOU".Not " HOW COULD YOU" but "IUNDERSTAND".Not "I WISH YOU WERE" but "I AMTHANKFUL YOU ARE".

So friends, let LOVE fil l you tooverflowing, for without love we arenothing. Remember love is all we have togive and take. Make sure you don't holdsomeone in your arms whom you couldnot hold in your heart.

[email protected]

LOVE IS ALL I HAVE- TO GIVE AND TAKE- Ms.Anita Malla

Shuvash Chaudhary (Devpuri,Dang)Michel Foucault is mostly

remembered for his theory of power andhis analysis of disciplinary society. Hisstudies cover a wide range ofdisciplines and topics. They could bebroadly divided into genealogicalhistories (of the clinic, the humansciences, madness, the penal system,biopolitics and sexuality) andmethodological reflections (onstructuralism, archaeology,heterotopia, the writing of history).Foucault places a special emphasison the institutional expression ofknowledge production. Critics of hiswork tend to dismiss it as a form ofneo-positivist conservativism, a post-modern attack onEnlightenment Reasonand an anarcho-identitypolitics of quietism.Others have used hisinsights into therelation between powerand knowledge todevelop sociologicalanalyses of theworkings of stateinstitutions indisciplinary societies.The Anglo-Americanreception of Foucault's

work, especially of his history of sexuality,has given strenght to a form of identitypolitics and fulfilled the need for atheoretical justification for dandyism-likeforms of cult of the self. In his latest essaycalled The Subject and Power, Foucaultidentifies three axes as being constitutiveof the subject: knowledge, power andethics. In his ouvre he claims to havefollowed them respectively with the mainunderlying concern for the 'subject'. Arethese issues addressed at the level ofepistemology or ontology?A historicisedontology of the present (which he opposesto an analytics of truth) redefines critiqueas the modernist attitude of self-reflexivitythe content of which can only beresuscitated at the expense of the

THE Man who analyzed POWER

Contact: E-mail: [email protected] Mob: 9846036956

Service:• State of the art exhibition

and sales Hall• Contemparary paintings

sculpture• Art events• Art classes• Art related service

Aesthetics Art GalleryLakeside-6, Pokhara

(Opposite to Standard Chartered Bank)

There can be no press freedom if Journalists exist in conditions of corruption poverty or fear.

ROCK POKHARA


Heralo Weekly Friday, Nov. 16, 2007 8

JD is cover the child prodigy - ShreyaGhoshal.. the twinkle in her eyes takesyou deep into the creative world. Hersweet smile can soothe many a tensenerves, but her biggest asset is hermelodious voice. A good singer with agood a voice- a rare phenomenon thathas happened to Bollywood. Winner ofeight major awards including thenational award, 2003.

Her early days as a singer startedfrom the age of four. She belongs to ahighly academic family. Her father isan Engineer in the nuclear power plantby the Nuclear Power Corporation ofIndia Ltd. and mother is a postgraduatein literature.Her mother was a goodsinger and whenever she used to playany note on the harmonium,Shreyaused to sing correctly of her own. Herfather recognized her talent anddecided to give her proper training. Butas she was residing in an isolatedplace near Kota, Rajasthan. Later onshe started going to Kota andstarted learning proper Hindustaniclassical music.

Her first break came through TVS SaRe Ga Ma, the music talent hunt showon Zee TV. Being a perpetual contestantand winner of several episodes, she wasselected for the 75th Children's specialepisode of TVS Sa Re Ga Ma, whichshe won. Later on, she also won thechildren's mega final show way back in1996, at the age of twelve. During oneof the episodes, Sanjay Leela Bhansaliheard her and was very impressed .After a year and a half, Sanjay Bhansalicalled her. That's how Devdas happened,her debut film as a playback singer.

Shreya Ghoshal..

From winning accolades as a childsinger to working with some of the topnames in the film and music business ,the journey was not very hard for Shreyaas she has become an young achiever insuch a short span.She targeted doing goodwork and has won many awards (8 awardsin a single year including a National Award).

She enjoys Symphony andinstrumental in western music and herfavourite is ABBA group. But Indianmusic is definitely her soul. Her voice hasa texture that suits romantic songs andshe can project voice very well ("Jadu HaiNasha Hai " from jism ). She is alsocomfortable singing sad songs or peppysongs.She has recorded in Tamil, Telugu,Kannada, Bengali, and Marathi, besidesHindi.Apart from Devdas, she has doneJism, Saaya, Inteha, Out of Control,Khakee, Munnabhai MBBS , Dhoop,Kuchh Kaha Aapne, Aarman, Desh Devi,Tujhe Meri Kasam, LOC, Aetbaar, Police

Singer ProfilePratyush

Farah Khan's film Om ShantiOm perfectly matches the festivespirit of the season. The movie isone of the best wholesomeentertainers we have seen fromBollywood this year.

The best part about OSO is thatit doesn't pretend to be cerebral.Its humour, its corny sentimentality,and its music combine together tomake a perfect recipe to drive yourblues away.

On top of it are superbperformances by the starcasthelmed by the endearing ShahRukh Khan who does the mostcorny things with such convictionthat you end up liking them. Be itdressing like Rajnikant in thecowboy 'Murugan' avatar andfighting with a fluffy tiger. Orrescuing his ladylove from araging fire and getting scorchedabove his butt.

To entertain the audiences,SRK doesn't mind making himselfthe butt of a joke. And Farah Khandoesn't mind going over the top ifthat brings a smile to your face.Yes, that is the intention of OSO- to entertain. And it succeeds init in flying colours.

That the film is a hearty tributeto the cinema of 1970s becomesclear from its opening scene -Rishi Kapoor , all dressed in silver,dances to the song "Om ShantiOm" from Subhash Ghai's film Karz. In the crowd is Om PrakashMakhija (SRK) one of the juniorartists shooting for the song alongwith his sidekick Pappu Master (Shreyas Talpade ).

Om has dreams in his eyes -dreams to become a superstarsomeday. And he is in love withpopular actress Shantipriya (Deepika Padukone ), to whoseposter he often talks his heart out.

At home, Om's mother ( KironKher ) is sure her son's dreamswould come true one day. Well,they almost do. Our smitten herogets introduced to his ladylovethrough a series of remarkableincidences. Om's love storyseems headed in the rightdirection, but then, comes arevelation. There is another manin Shantipriya's life and hisintentions are not noble.

Without giving the story away,it can be safely said that Om and

Om Shanti OmShantipriya's love story remainsincomplete. It takes second birthand a new life for Om to finallysettle the score with the man whotook away his love.

'Om Shanti Om' is packed withone slammer of a scene afteranother throughout its runningtime. With its sheer joie de vivre,the film engages you and allowsyou no spare thought to pick plot-holes from a rational point of view.

The first half of the film issimply superb. The tongue-in-cheek spoofs on the superstarsof the 70s - be it Manoj Kumar,Dev Anand or Dharmendra - areextremely funny. The chemistrybetween Om and his friend(Shreyas) has many charmingmoments. And it rends your heartto see how Om Makhija's dreamsare shattered and yet how heproves to be a true lover till histragic end.

Lekin film abhi baaki hai, meredost.

The second half doesn't seemuch revival of the love story, butit does pack in a good dose ofsuspense and drama as thereincarnated Om Kapoor recallshis previous life in flashes andsets out to complete the story leftincomplete in previous life.

In OSO, Shah Rukh Khanproves that he isn't a superstarfor nothing. His acting in the movieborders on a deliberate, filmihistrionic, in keeping with hischaracter. SRK also proves hisflair for comedy in many scenes -such as the cowboy Murugansequence, or the opening song.

Deepika Padukone is veryphotogenic and she emotes welltoo. She has all the qualities of asuperstar in the making.

In the side-roles, ShreyasTalpade and Kiron Kher aresuperb. But what is surprising isArjun Rampal 's brilliant portrayalof a cunning producer. Rampal isterrific in the film's second half,when the ugly pastcatches up with hischaracter.

Pakistani actorJaved Sheikh, as thereincarnated SRK'sfather RajeshKapoor, is

Movie ReviewNaresh K. D.

commendable. His performance isseveral notches better than what wesaw of him in Namastey London .

Music by Vishal-Shekhar is anotherstrong point of OSO. "Aankhon MeinTeri" plucks notes at your heartstrings."Om Shanti Om" may have an averagemelody but the thirty celebrities in thesong keep you glued to the screen.

Farah Khan has a very unique styleof filmmaking. She follows no setformula and is not afraid to try anythingand everything wacky just for the solepurpose of providing entertainment.She makes SRK dress up as asuperman, as a dacoit, and as a gaudycowboy. And she presents AkshayKumar and Abhishek Bachchan in littlecameos that will have you in splits.

Apart from the content, OSO is alsoa technically sound film. Thecinematographer doesn't try too manystylistic shot compositions but yetcaptures the gist of the story. Theediting by Shirish Kunder is slick andtight. And the special effects -transposing Deepika Padukone with thelikes of Sunil Dutt, Rajesh Khanna andJitendra - are of super quality. To putthe curtains down, I wish to say thatOSO delivers what it promises. Itmakes you laugh and makes you cry.

I came out of the theatre with a broadsmile on my face. And 'Om Shanti Om'sounded like the perfect mantra of thisDiwali for me.

She is sitting on her mother's lapeating something. Her motherand elder sister are watching

news on television. Her niece, of hersame age, is also beside her. She isnot that old to understand the wholestory but she listens to her mothersaying " chu chu chu…when will thisIraq and Iran war is going to finish.People say the poisonous air mightcome to Nepal and we might getaffected." She and her niece look ateach other with fear. People in the bothcounties are celebrating like there isno tomorrow. Maybe they knew theywill die tomorrow. She slide from hermother's lap and whisper in her niece'sears and they are out of the room.

Next day, she and her niece areeating chocolate, wai wai etc. Hermother yells at her "where did you getthat from?" "We bought it." "Andwhere did you get all that money?""We smashed our Bhudko (piggybank)." " Huh!!! And why did you dothat for without asking me?" "Yesterdayyou said we might die with thatpoisonous air. If we die, someone elsewill find our Bhudko and eat all ourmoney."

Years passed, and Iraq and Iran war isover. She didn't die but laughed so manytimes sharing this story with her friends.

She is sleeping. Suddenly the phonerings. It's her elder sister… "Muna turnon the television. Punu didi just calledfrom ktm Our Raja Rani and theirwhole family has been killed. WatchBBC news." It's all over the news.

From that day on ward there is nothingbut the news of people being murdereror killed. There was an attack here, thismany Maobadi died, this many Armydied. Forget about the number of peopleinjured, the mourning dreams of so manyparents, blank forehead of newlywedbrides, fatherless children and homeless

mothers. She feels sick of watching newsthese days. So she doesn't watch it. Hermother yells at her for watching too muchmovies and not watching Nepal Televisionspecially news. But what is there towatch??? Cold bodies and their emptyeyes??? These days, sound of bomb blastand gunfire doesn't bother her. She is usedto it. She is used to so many things. Twofaced politicians, their promises, theassurance of peace and prosperity. Socalled dream of " Naya Nepal."

"Did you watch Indian Idol? PrasantTamang is on Top Two. We must vote himand make him a winner." "Teeza ko Laharaayo barilai… Prasant Tamang Jindabaad.""Sisters we must support PrasantTamang." "Dear Listeners, This is…andyou are listening to …FM. We arecollecting money to support PrasantTamang our Nepali Son. It is our duty tosupport him to win this historical event."He wins and after some Hurrys andCongratulations the same old days followits routine. That passion and excitementof achievement is gone. When the countryis in mourning and life is no more normalstill people had the courage to make theimpossible, possible. Irony. Why can't theyuse the same courage to built NayaNepal. But of course, all of them are Usedto It as she is.

Now, that she is at war, she no morefinds her old story of poisonous gashumorous. Rather she believes thatpoisonous gas has truly come to hercountry. These days sun doesn't shine sobright like it used to. The water changesits color. All white, Black and Red and ittaste salted. The air is not so fresh. Itsmells of death, uncertainty, poverty,destruction and what not.

Alas!!! She doesn't have a Bhudko to buyher chocolate and wai wai and she has nointerest to buy a new one because andshe is used to be hopeful and get hurt.

([email protected])

She is Used to It@@@@@Uma Pun

S. Traded Companies No.of Max. Min. Closing Total Amount Previous DifferenceN.1 NABIL BANK LIMITED 1 4335 4335 4335 48 208080 4250 852 NEPAL INVESTMENT BANK LTD 16 515 2440 2440 1881 4691327 2490 503 HIMALAYAN BANK LTD 7 2511 2500 2510 1842 4619610 2499 114 NEPAL BANGLADESH BANK LTD. 16 701 686 700 3500 2428100 690 105 BANK OF KATHMANDU LTD. 32 1710 1670 1706 9555 16117852 1685 216 MACHHA PUCHCHHRE BANK LTD. 22 912 878 892 9005 8069842 861 317 KUMARI BANK LTD. 18 1120 1080 1105 5217 5742839 1070 358 NEPAL LIFE INSURANCE CO.LTD 2 1385 1380 1385 80 110450 1379 69 LIFE INSURANCE CORP.NEPAL LTD 3 925 925 925 30 27750 936 1110 NEPAL MERCHANT BANK & FIN. LTD. 14 2685 2650 2685 420 1118580 2615 7011 KIST MERCHANT BANKING & FINANCE LTD 10 1565 1550 1562 1250 1946650 1530 3212 DEVELOPMENT CREDIT BANK LIMITED 12 2275 2245 2275 1077 2427121 2240 3513 SANIMA BIKASH BANK LTD. 64 932 865 930 8500 7699950 860 70

Rs.Transaction Price Price Price Share Closing

Note :Paid-up value of S.N. 26 is 80 Total Traded Amount Rs: 101552619.00Total Market Cap.Rs: 274298.29 MillionsTotal Traded Shares: 105561Total Transactions: 487

Note: Selected companies are only included.

Nepal Stock Exchange Ltd.Nov.16 Share Trading & NEPSE Index

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